MUSEUM 


Monograph 

by 

CHARLES  M.  FFOULKE 
on 

The  Judith  & Holofernes  Series 

consisting  of 

Eight  Flemish  Tapestries 

with 

Original  Borders 

WASHINGTON 

1907 


Monograph 


by 

CHARLES  M.  FFOULKE 


The  Judith  & Holofernes  Series 

consisting  of 

Eight  Flemish  Tapestries 

with 

Original  Borders 


WASHINGTON 

1907 


Digitized  by  the  Internet  Archive 
in  2016 


https://archive.org/details/monographbycharlOOffou 


TRANSLATION  OF  LATIN  INSCRIP- 
TION WOVEN  IN  TOP  BORDER 
OF  EACH  TAPESTRY,  AND 
SIZE  OF  EACH  TAPESTRY 


FIRST. 

King  Nebuchadnezzar  sends  Holof ernes,  the  Chief 
Captain  of  his  army,  against  Israel. 

Height  13  ft.,  p in.  Width  12  ft.,  3 in. 

SECOND. 

Achior,  the  leader  of  the  Ammonites,  while  ex- 
pounding the  power  of  the  God  of  Israel,  is  arrested 
by  order  of  Holofernes. 

Height  13  ft.,  3 in.  Width  13  ft.,  p in. 

THIRD. 

The  widow,  Judith,  weighed  the  virtues  and  the 
vices  of  the  people;  when  the  latter  are  the  heavier, 
Israel  is  punished. 

Height  13  ft.,  10  in.  Width  16  ft.,  3 in. 

FOURTH. 

The  most  beautiful  Judith  arrays  herself  in  gar- 
ments of  gladness,  in  order  that  she  may  free  Bethulia 
from  destruction. 

Height  13  ft.,  4 in.  Width  12  ft.,  1 in. 


2 


FIFTH. 

Judith,  in  the  guise  of  a fugitive,  cunningly  deceives 
Holofernes,  and  promises  him  a specious  victory. 

Height  13  ft.,  9 in.  Width  13  ft.,  3 in. 

SIXTH. 

Holofernes,  while  drunken,  is  deprived  of  his  head 
by  Judith,  who  thus  saves  Israel. 

Height  13  ft.,  6 in.  Width  15  ft.,  2 in. 

SEVENTH. 

Judith,  victress,  displays  the  head  of  Holofernes, 
to  the  people,  who  praise  the  God  of  Israel. 

Height  13  ft.,  5 in.  Width  17  ft.,  8 in. 

EIGHTH. 

The  God  of  Israel  routs  the  army  of  Holofernes", 
and  treasures  are  given  to  Judith. 

Height  13  ft.,  6 in.  Width  19  ft.,  7 in. 

Average  height  13  ft.  6l/2  inches.  Total  of  all 
widths,  120  feet. 


3 


ORIGIN,  HISTORY  AND  ARTISTIC 
IMPORTANCE 


These  eight  Flemish  tapestries  were  woven  during 
the  last  half  of  the  seventeenth  century  in  Brussels-Bra- 
bant  as  is  proven  by  the  mark  B^B,  hereafter  ex- 
plained in  the  description  of  the  borders,  and  by  the 
signatures  of  E.  Leyniers  and  H.  Rydams.  They  pos- 
sess the  remarkable  historic  distinction  of  having  be- 
longed for  about  two  hundred  and  fifty  years  to  the 
great  patrician  family — the  Barberini  of  Rome — of 
which  Pope  Urban  VIII  was  the  most  prominent  mem- 
ber, and  of  having  been  included  in  the  inventory  of 
the  tapestry  possessions  of  Cardinal  Carlo  Barberini  in 
1695. 

In  Vol.  XLVIII  of  the  manuscripts,  still  preserved 
in  the  Barberini  Library  in  Rome,  there  is  an  inventory 
of  the  tapestries  owned  by  the  nephew  of  Pope  Urban 
VIII,  the  Cardinal  Carlo  Barberini,  dated  October  25, 
1695. 

In  this  inventory  the  series  Judith  and  Holofernes 
is  designated  as  follows: 

“Series  woven  in  silk  and  wool,  representing  the  his- 
tory of  Judith — eight  tapestries.” 

They  passed  from  the  Barberini  collection  into  the 
Ffoulke  collection  in  1889. 

As  evidence  of  their  artistic  value  and  importance, 
the  writer  translates  what  J.  J.  Guiffrey,  the  present 
Director  General  of  the  Gobelins,  writes  on  pages  272- 


4 


275  °f  his  “Histoire  de  la  tapisserie  depuis  le  moyen 
age  jusqu'a  nos  jours,”  concerning  the  Leyniers  and 
Rydams,  families  of  tapestry  weavers  and  dyers. 

“The  Leyniers  family  ranked  with  the  greatest  in 
Flanders,  both  in  the  number  and  ability  of  the  tapes- 
try artists  it  produced.  The  following  is  a list  of  the 
principal  members  of  this  dynasty:  Gaspard,  born  in 
1576,  died  in  1649,  was  one  of  the  most  diligent  tapes- 
try weavers  of  his  time,  and  brother  of  Daniel  Ley- 
niers, of  whom  mention  has  already  been  made ; Ever- 
ard,  son  of  Gaspard,  born  in  1597  and  died  in  1680, 
‘covered  with  glory,’  continued  in  his  career  until  he 
had  attained  his  eightieth  year.  In  a competitive  expo- 
sition held  in  1650  by  the  best  weavers  in  Flanders, 
Everard  was  awarded  the  highest  medal  over  all  his 
rivals.*  Urbain,  son  of  Gaspard,  was  one  of  the  most 
celebrated  dyers  of  his  time.  He  preserved  and  em- 
ployed the  secrets  of  his  father  in  coloring  the  wools. 

“The  excellence  of  his  dyes  brought  to  Gaspard  the 
second,  in  1672,  the  title  of  ‘Dyer  to  the  Governor  of 
the  Netherlands,’  and  the  exclusive  monopoly  of  dyeing 
all  the  wools  used  in  all  the  ateliers  of  Brussels-Bra- 
bant.  Everard  had  three  sons — John,  Daniel  and  Giles 
— all  of  whom  followed  the  career  of  their  father. 
John,  whose  reputation  eclipsed  those  of  his  brothers, 
wove  a series  of  tapestries  illustrating  the  history  of 
Meleager  and  Atalanta,  after  cartoons  by  Le  Brun,  for 
Monsieur  the  brother  of  Louis  XIV.” 

Mr.  Guiffrey  writes  much  more  and  in  the  most 
flattering  terms  of  the  skill  and  talents  of  this  family, 
but  enough  has  been  translated  to  substantiate  its  ex- 

*This  Everard  Leyniers  was  the  author  and  signer  of  one-half 
of  this  series  Judith  and  Holofernes. 


5 


ceptionally  high  position  in  the  tapestry  world.  On 
page  275  of  the  work  heretofore  named  Mr.  Guiffrey 
tells  us  that  “Henry  Rydams  began  his  career  as  a tap- 
estry weaver  in  1629,  and  was  succeeded  in  1671  by 
his  son,  who  bore  the  same  name  as  his  father.  * * * 
The  descendants  of  the  Rydams,  allied  with  the  de- 
scendants of  the  Leyniers,  preserved  their  united  ate- 
liers until  the  middle  of  the  eighteenth  century.” 

After  reciting  some  of  the  remarkable  series  woven 
by  the  Leyniers  and  Rydams  families,  Mr.  Guiffrey 
adds,  “that  there  are  some  series  which  bear  the  names 
of  both  of  these  celebrated  families.” 

The  eight  Judith  and  Holof ernes  tapestries  which 
are  the  subject  of  this  monograph  form  one  of  these 
rare  series,  as  the  name  of  Henry  Rydams  is  woven  in 
the  blue  band  at  the  bottom  of  one-half  of  them,  and 
that  of  Everard  Leyniers  in  the  blue  band  at  the  bottom 
of  the  other  half. 

M.  Wauters  in  his  “Tapisseries  Bruxelloises”  states 
that  the  Leyniers  family  were  tapestry  weavers  for 
nearly  250  years  from  the  beginning  of  the  XVI  cen- 
tury to  the  middle  of  the  XVIII,  and  that  both  Ever- 
ard Leyniers  and  Henry  Rydams  were  doyens  of  the 
Brussels  tapestry  guild. 

The  Barberini  tapestries  were  all  rated  as  antique 
works  of  art  by  the  experts  of  the  Italian  Government 
and  those  of  the  Royal  Galleries  of  Uffizi,  when  appli- 
cation was  made  to  export  them  from  Rome  and  Italy. 
The  Italian  Minister  of  Public  Instruction  affixed  his 
official  seal  to  each  tapestry  as  evidence  that  the  Govern- 
ment had  consented  to  its  exportation,  and  that  the  ex- 
port tax  on  it  as  an  antique  work  of  art  had  been  paid. 
On  account  of  the  clamor  caused  by  the  loss  of  the  Bar- 


6 


berini  collection  of  tapestries  to  Italy,  the  American 
purchaser  had  them  examined  by  the  experts  of  the 
Royal  Galleries  of  the  Uffizi  at  Florence  who  affixed  the 
seal  of  the  Galleries  to  each  one  as  confirmative  evidence 
of  the  right  to  export  them  and  of  the  payment  of 
the  export  tax.  In  consequence  each  tapestry  bears 
two  seals,  without  which  they  would  not  have  been  al- 
lowed to  leave  Italy. 

They  are  in  first  class  order,  have  never  been  muti- 
lated in  any  way,  and  are  in  the  same  condition,  ex- 
cepting some  trifling  repairs,  as  when  they  issued  orig- 
inally from  the  united  ateliers  of  Leyniers  and  Rydams. 

They  were  woven  as  above  shown  in  the  united  ate- 
liers of  two  of  the  most  celebrated  families  of  tapestry 
weavers  that  Flanders  ever  produced;  they  are  full 
of  sentiment  and  strong  in  character ; the  principal  per- 
sonages are  in  general  exceedingly  well  drawn  and 
magnificently  costumed,  and  they  possess  their  original 
borders.  Judith  and  Holof ernes  are  personified  in  al- 
most all  with  a surprising  fidelity  to  the  Apochryphal 
record  of  their  character  and  acts  as  printed  in  the  early 
editions  of  the  Old  Testament. 

They  are  particularly  remarkable  for  the  wonderful 
preservation  of  their  colors  as  well  as  for  the  exqui- 
site delicacy  and  harmony  of  those  colors.  There  are 
no  vivid  tones,  no  jarring  of  colors  and  the  eyes  are 
delighted  with  the  beautiful  manner  in  which  the  lat- 
ter were  originally  blended  and  by  the  softening  effects 
of  time  upon  them. 

The  best  perspective  results  in  tapestries  were  ob- 
tained by  the  introduction  of  architectural  features,  and 
the  creators  of  this  series  were  thoroughly  alive  to 
this  fact.  The  best  decorative  effects  in  some  tapes- 


7 


tries  were  obtained  by  the  introduction  of  such  back- 
grounds as  would  throw  out  in  fine  relief  the  figures 
and  costumes  of  the  principal  personages,  to  which  fact 
also  the  creators  of  this  series  were  fully  alive. 

In  some  of  the  Judith  and  Holof ernes  tapestries  the 
backgrounds  are  draperies,  in  others  they  are  tent 
walls,  in  still  others  fortification  walls  or  architec- 
tural motives,  and  the  surprising  relief  obtained  by 
these  backgrounds  greatly  increases  our  admiration 
and  respect  for  the  master  weavers  in  whose  united 
ateliers  these  eight  tapestries  originated. 

In  conclusions  they  are  splendid  specimens  of  Flem- 
ish tapestries  of  the  last  half  of  the  seventeenth  cen- 
tury, for  they  possess  a wealth  of  decorative  qualities 
which  give  them  a wonderfully  sumptuous  effect,  and 
they  were  woven  while  Flanders  stoutly  maintained  her 
struggle  for  leadership  with  France  and  before  the 
wiser  laws  and  better  pay  of  the  French  monarchs 
had  robbed  her  of  many  of  her  best  weavers  and  had 
ended  her  three  centuries  of  proud  pre-eminence  as  the 
greatest  and  grandest  center  of  tapestry  weaving  in 
the  world. 


8 


HISTORY  OF  THE  SUBJECTS 


The  following  history  of  Judith  and  Holofernes  is 
partly  quoted  and  partly  compiled  from  the  “Book  of 
Judith”  as  printed  in  the  Apochrypha. 

Judith  was  a beautiful  Jewish  widow  and  a model 
of  piety,  courage,  chastity  and  wisdom. 

Holofernes  was  a savage  instrument  of  the  King  of 
Babylon  and  carried  war,  desolation  and  misery  into 
many  countries. 

Nebuchadnezzar,  king  of  Babylon  (called  King  of 
Assyria  in  the  Apochrypha),  sent  envoys  to  “all  inhab- 
itants of  the  land”  commanding  them  to  join  his  stand- 
ards in  a war  against  Arphaxad.  As  Nebuchadnezzar 
was  unknown  to  several  of  the  kings  who  received  his 
command,  they  laughed  at  his  mandate  and  treated 
his  ambassadors  with  contempt.  Enraged  at  their 
“contumeliousness,”  he  “swore  by  his  throne  and  king- 
dom that  he  would  avenge  himself  by  destroying  all 
flesh  that  did  not  obey  the  commandments  of  his 
mouth,”  and  sent  for  Holofernes,  the  chief  captain  of 
his  army,  who  knelt  before  him  to  receive  his  orders 
and  above  whom  he  extended  his  sceptre.  ( See  the 
first  tapestry . 

It  was  a law  among  the  Medes  and  Persians  that 
every  one  summoned  into  the  monarch’s  presence  over 
whom  he  did  not  extend  his  sceptre  should  be  put  to 
death. 

The  orders  which  he  delivered  to  his  Chief  Captain 
began  with  the  words,  “Thus  saith  the  great  King,  the 


The  Second  Tapestry. 

HOLOFERNES  ORDERING  THE  ARREST  OF  ACHIOR. 


9 


Lord  of  the  whole  earth,”  and  after  commanding  Hol- 
ofernes  to  lay  waste  the  lands  of  those  who  resisted 
and  to  destroy  the  inhabitants  thereof,  they  terminated 
with  the  threat,  “and  take  thou  heed,  that  thou  trans- 
gress none  of  the  commandments  of  thy  Lord.” 

Holofernes  began  carrying  out  these  terrible  orders 
with  savage  ferocity.  On  nearing  the  confines  of  Judea 
he  decreed  that  he  came  “to  destroy  all  the  gods  of  the 
land,  that  all  nations  should  worship  Nebuchadnezzar 
only,  and  that  all  tongues  and  tribes  should  call  upon 
him  as  God.”  The  children  of  Israel  “were  troubled 
for  Jerusalem  and  for  the  temple  of  the  Lord  their 
God,”  but  they  courageously  gathered  together  their 
warriors,  fortified  their  villages  and  placed  guards  at 
the  narrow  passes  into  the  valleys  of  Judea.  Their 
resistance  enraged  Holofernes  to  frenzy.  He  sum- 
moned the  “princes  of  Moab  and  the  captains  of  Am- 
mon,” and  demanded,  “Who  are  these  people;  what  is 
the  multitude  of  their  army;  wherein  is  their  power 
and  strength ; what  king  is  set  over  them,  or  who  is 
captain  of  their  army?”  Achior,  the  Ammonite,  at- 
tempted to  enlighten  him,  and  recited  the  history  of 
the  Jews,  traced  their  wanderings  with  his  finger  upon 
a map,  and  declared  that  “if  there  be  any  error  in  this 
people,  and  they  sin  against  their  God,  we  shall  over- 
come them,  but  if  there  be  no  iniquity  in  their  nation, 
let  my  lord  now  pass  by,  lest  their  Lord  defend  them 
and  we  become  a reproach  before  all  the  world.” 
Holofernes,  flaming  with  anger  at  the  implication  of 
a possible  defeat  of  his  army,  ordered  that  Achior  be 
seized,  bound  and  delivered  to  the  Jews,  so  that  he 
might  perish  with  the  people  he  presumed  invincible. 
(See  the  second  tapestry .) 


10 


The  next  day  Holofernes  surrounded  Bethulia,  the 
first  fortified  city  of  the  Jews,  and  took  possession  of 
the  fountains  and  wells,  upon  which  the  people  de- 
pended for  water.  At  the  expiration  of  thirty-four 
days,  the  beleagured  citizens  having  exhausted  their 
cisterns,  assembled  and  demanded  that  their  chief 
Ozias,  should  surrender  the  city  to  Holofernes.  He 
bade  them  keep  up  their  courage  for  five  days  longer 
and  made  an  oath  that  if  no  help  came  from  the  Lord 
within  that  time  he  would  accede  to  their  prayers. 
When  Judith  heard  of  the  demands  of  the  people  and 
the  reply  of  Ozias,  she  sent  for  him  and  for  “Chabris 
and  Charmis,  the  ancients  of  the  city,”  and  said : “Oh, 
ye  governors  of  Bethulia,  the  words  ye  have  spoken 
before  the  people  this  day  are  not  right,  touching  this 
oath  which  ye  have  made  to  deliver  the  city  to  our  ene- 
mies in  five  days  unless  within  these  days  the  Lord  turn 
to  help  us.  He  hath  power  to  defend  us  when  He  will, 
even  every  day,  or  to  destroy  us  before  our  enemies. 
Therefore  let  us  wait  for  salvation  of  Him  and  call 
upon  Him  to  help  us  and  He  will  hear  our  voice  if  it 
please  Him.”  She  arraigned  them  in  forcible  lan- 
guage and  practically  showed  them  that  their  vices 
outweighed  their  virtues.  ( See  the  third  tapestry.) 

She  could  not  determine  them  to  follow  her  coun- 
sels, for  Ozias  speaking  for  all,  replied : “There 
is  none  to  gainsay  thy  wisdom,  all  the  people  know  thy 
understanding,  but  the  oath  we  have  taken  we  will  not 
break ; therefore  pray  thou  that  the  Lord  will  send  rain 
to  fill  our  cisterns.”  To  which  Judith  answered:  “I 
will  do  a thing  which  shall  go  throughout  all  genera- 
tions to  the  children  of  our  nation.  Stand  ye  by  the 
gates  this  night  and  I will  go  forth  with  my  waiting- 


The  Fourth  Tapestry. 
THE  TOILET  OF  JUDITH. 


11 


woman,  and  within  the  days  that  ye  have  promised  to 
deliver  our  city  to  our  enemies  the  Lord  will  visit  Is- 
rael by  my  hand.”  Ozias  and  the  princes  responded: 
“Go  in  peace,  and  the  Lord  God  be  before  thee  and 
take  vengeance  on  our  enemies.”  Thereupon  Judith 
humbled  herself  and  appealed  to  the  Lord  for  help 
against  the  Assyrians  and  closed  her  prayer  with  the 
words  “give  into  my  hands  the  power  that  I have  con- 
ceived, smite  by  the  deceit  of  my  lips  their  prince,  and 
break  down  their  stateliness  by  the  hand  of  a woman.” 

She  then  called  her  maids  “who  removed  the  gar- 
ments of  her  widowhood,  bathed  her  and  anointed  her 
with  precious  ointment,  braided  her  hair,  put  a tire 
upon  her  head,  and  clothed  her  in  her  garments  of 
gladness.  They  put  sandals  upon  her  feet  and  decked 
her  with  bracelets,  chains,  rings  and  all  her  ornaments, 
to  allure  the  eyes  of  all  men  that  should  see  her.”  ( See 
the  fourth  tapestry.) 

She  then  gave  the  maid  she  had  chosen  to  accom- 
pany her  a bottle  of  wine  and  a bag  of  provisions  and 
they  went  forth  from  the  gate  of  the  city  toward  the 
camp  of  Holofernes.  As  they  approached  it  they  were 
halted  by  the  “first  watch  of  the  Assyrians,”  who  asked 
her,  “Of  what  people  art  thou”  ? She  answered,  “I  am 
a woman  of  the  Hebrews,  and  am  fled  from  them,  for 
they  shall  be  given  you  to  be  consumed.  I am  come 
to  show  your  chief  captain  a way  whereby  he  shall  win 
all  the  hill  country  around  Bethulia,  without  losing  any 
of  his  men.”  Thereupon,  a guard  conducted  her  to  the 
tent  of  Holofernes,  “who  rested  upon  his  bed  under  a 
canopy,  which  was  woven  with  purple,  and  gold,  and 
emeralds,  and  precious  stones.”  When  Judith  came 
before  him  he  marvelled  at  her  beauty  and  “she  fell 


12 


upon  her  knees  and  did  reverence  unto  him,  and  his 
guards  lifted  her  up.”  ( See  the  fifth  tapestry.) 

He  asked  her,  “Wherefore  art  thou  fled  from  thy 
people,  and  art  come  unto  us?  None  shall  hurt  thee, 
but  entreat  thee  well.”  To  which  she  answered,  “If 
thou  wilt  follow  the  words  of  thy  handmaid,  God  will 
deliver  Israel  into  thy  hands.  Achior  repeated  to  us 
the  words  which  he  declared  unto  thee,  and  I entreat 
thee,  reject  not  his  advice,  for  it  is  true;  but  the  people 
have  naught  to  eat  or  drink,  and  they  will  lay  hands 
upon  their  cattle  and  on  all  those  sanctified  things  that 
God  hath  forbidden  them  to  touch  or  eat.  I,  thine  hand- 
maid, knowing  all  this,  am  fled,  and  God  has  sent  me 
to  advise  thee.  Now,  therefore,  my  Lord,  I will  re- 
main with  thee,  and  thy  servant  will  go  out  by  night 
into  the  valley,  and  pray  unto  my  God,  and  He  will 
tell  me  when  they  have  committed  these  sins,  and  the 
same  day  thou  shalt  destroy  them.”  Her  words  pleas- 
ed Holofernes,  and  he  told  her,  “There  is  not  such  a 
woman  from  one  end  of  the  earth  to  the  other  both 
for  beauty  of  face  and  wisdom  of  words.  If  thou  do 
as  thou  hast  spoken,  thou  shalt  dwell  in  the  house  of 
Nebuchadnezzar,  and  shalt  be  renowned  throughout 
the  whole  earth.”  He  requested  her  “to  eat  of  his 
meats  and  drink  of  his  wines;”  but  she  replied, 
“Provision  shall  be  made  for  me  of  the  things  that  I 
have  brought,  lest  I commit  an  offense.”  The  guard 
then  conducted  her  to  a tent,  and  before  the  early 
morning  watch  she  sent  to  Holofernes,  saying,  “Let 
my  Lord  now  command  that  thine  handmaid  may  go 
forth  unto  prayer.”  Whereupon  he  “commanded  his 
guard  that  they  should  not  stay  her,”  and  thus  for  three 
nights  she  went  out  and  in  unmolested.  On  the  fourth 


<L 


r- 


w*  . 


The  Sixth  Tapestry. 

BANQUET  GIVEN  JUDITH  BY  HOLOFERNES. 


13 


day  Holofernes  “made  a feast  to  his  servants  only, 
and  called  none  of  the  officers  to  the  banquet,”  but 
sent  Bagoas,  the  eunuch,  to  invite  Judith  to  join  him. 

She  obeyed  and  when  she  appeared  “Holofernes’ 
heart  was  ravished  with  her  for  he  waited  a time  to 
deceive  her.”  He  begged  that  she  would  “drink  now 
and  be  merry  with  us” ; but  she  “ate  and  drank  be- 
fore him  only  what  her  maid  had  prepared.”  ( See  the 
sixth  tapestry.) 

“Holofernes  took  great  delight  in  her,  and 
drank  much  more  wine  than  he  had  drunk  at  any 
time  in  one  day  since  he  was  born.”  The  feast  was 
long  and  the  servants  were  weary,  so  “Bagoas  dismiss- 
ed them,  and  shut  the  tent  from  without.”  * * * 

“Judith  was  left  alone  in  the  tent  and  Holofernes  lying 
along  his  bed,  for  he  was  filled  with  wine.  Now  Judith 
had  commanded  her  maid  to  stand  without  the  tent, 
for  she  had  said  to  Bagoas  that  she  would  go  forth  to 
her  prayers  as  usual.” 

Alone  with  the  oppressor  of  her  race  and  kindred, 
alone  with  the  savage  who  had  desolated  whole  coun- 
tries and  filled  nations  with  mourning,  and  that  savage 
in  her  power — asleep  and  drunken.  She  hesitated  only 
long  enough  to  utter  a short  prayer,  then  seized  the  fal- 
chion of  Holofernes,  took  hold  of  his  hair,  and  with  two 
strokes  severed  his  head  from  his  body.  She  handed 
the  head  to  her  maid,  who  put  it  into  the  bag  which 
had  held  their  provisions ; and  “they  twain  went  forth 
together,  according  to  their  custom,  unto  prayer”  out- 
side the  camp.  On  arriving  before  the  gate  of  Beth- 
ulia,  Judith  cried  out:  “Open,  open  now  the  gate; 
praise  God,  for  he  hath  not  taken  away  His  mercy 
from  the  house  of  Israel,  but  hath  destroyed  our  ene- 


14 


mies  by  mine  hands  this  night.  They  opened  the  gate 
for  her,  and  when  she  had  entered  and  mounted  the 
steps  of  the  temple,  she  took  the  head  out  of  the  bag  and 
showed  it,  and  said  unto  them : “Behold  the  head  of 
Holofernes,  the  Chief  Captain  of  the  army  of  Assur; 
the  Lord  hath  smitten  him  by  the  hand  of  a woman.” 
* * * “The  people  were  astonished  and  sang  and 

danced  and  with  glad  music  praised  the  Lord.” 

Ozias  with  uplifted  hand  cried : “O  daughter,  blessed 
art  thou  of  the  most  high  God  above  all  women  upon 
earth,”  and  Achior  fell  upon  his  knees  and  reverenced 
her  and  was  converted  to  Judaism.  ( See  the  seventh 
tapestry. ) 

She  then  told  the  soldiers  to  “Take  this  head  and 
hang  it  upon  the  highest  place  of  your  walls,  and  take 
ye  every  one  his  weapons  and  go  forth  out  of  the  city 
as  though  ye  would  go  down  into  the  field  toward  the 
watch  of  the  Assyrians,  but  go  not  down.  Upon  see- 
ing you  they  shall  go  into  their  camp  and  raise  up  the 
Captains  of  the  army  of  Assur,  and  they  shall  run  to 
the  tent  of  Holofernes,  but  shall  not  find  him;  then 
fear  shall  fall  upon  them  and  they  shall  flee  before 
your  face.” 

The  soldiers  followed  her  advice ; the  Assyrians  fled 
as  she  had  presaged ; the  Israelites  pursued  them  with 
fearful  slaughter,  and  the  immense  riches  of  the  army 
of  Holofernes  fell  into  the  hands  of  the  Jews.  They 
gave  to  Judith  the  tent  of  Holofernes,  all  his  plate  and 
vessels  of  gold,  and  all  his  rich  stuffs  and  precious 
stones,  and  all  his  treasures.  ( See  the  eighth  tapes- 
try.) 

Thomas  Bailey  Aldrich  published  a few  years  ago 
a narrative  poem,  entitled  “Judith  and  Holofernes,” 


Eighth  Tapestry. 


IS 


which  is  founded  on  the  Apocrypha,  and  will  prove 
entertaining  reading  to  any  one  interested  in  the  sub- 
ject. He  subsequently  dramatized  the  poem  under  the 
title  “Judith  of  Bethulia,”  for  Miss  Nancy  O’Neill, 
who  appeared  as  Judith  at  the  Tremont  Theatre,  Bos- 
ton, in  1904.  The  dramatization  does  not  follow  the 
lines  of  the  poem  nor  those  of  the  Apocrypha,  for  it 
makes  Bagoas  an  accomplice  of  Judith  by  furnishing 
her  with  a sleeping  drug  to  put  in  Holofernes’  wine. 
It  also  makes  Achior  a persistent  lover  of  Judith,  who 
followed  her  to  Holofernes’  camp  where  he  was  ar- 
rested and  released  by  Bagoas  during  the  panic  caused 
by  the  death  of  Holofernes.  It  also  makes  Bagoas 
accompany  Achior  to  Jerusalem. 


/ 


16 


DESCRIPTION  OF  THE  BORDERS 


They  are  an  integral  part  of  the  tapestries  and  are 
an  important  and  artistic  feature  of  the  series.  Tapes- 
tries which  have  been  deprived  of  their  original  bor- 
ders have  lost  many  of  their  virgin  charms.  In  the 
center  of  all  the  top  borders  is  a cartouche,  the  upper 
part  of  which  is  decorated  with  the  head  of  a satyr 
and  the  lower  part  with  dolphins.  In  each  cartouche 
is  a Latin  inscription  on  a blue  ground,  which  inscrip- 
tion is  the  title  of  the  composition  illustrated  beneath 
it.  To  the  right  and  left  of  this  cartouche,  excepting 
in  the  narrow  tapestries,  are  standing  eagles  with  ex- 
tended wings,  and  festoons  of  leaves  and  fruit.  In 
the  center  of  all  the  bottom  borders  is  a cartouche 
which  encloses  a miniature  mythological  subject. 

To  the  right  and  left  of  this  cartouche  are  winged 
cherubs  and  beyond  these  are  bouquets  of  fruits  and 
leaves. 

In  all  the  corners  of  all  the  tapestries  are  cartouches 
enclosing  the  mask  of  a satyr. 

In  the  center  of  all  the  side  borders  is  a cartouche 
enclosing  an  imitation  of  a blue  stone  above  which  is 
a shell  and  beneath  which  are  dolphins’  heads. 

Above  and  below  this  cartouche  are  bouquets  of 
fruits  and  leaves.  The  imitation  stone  was  woven  in 
so  that  the  owner  should  have  a place  in  which  he 
could  put  his  coat  of  arms  if  he  so  desired,  without  de- 
tracting from  the  merits  of  the  tapestries.  It  could 
easily  be  cut  out  and  his  coat  of  arms,  woven  on  a 
small  loom,  could  be  deftly  inserted  in  the  vacant  space. 


17 


In  the  blue  band  at  the  bottom  of  each  tapestry  is 
woven  the  signature  of  E.  Leyniers  or  that  of  H.  Ry- 
dams.  In  the  same  band  are  also  woven,  sometimes  to 
the  right  and  sometimes  to  the  left  of  the  signa- 
ture, the  mark  B ^ B. 

The  letters  stand  for  Brussels-Brabant.  The  city 
of  Brussels  and  the  duchy  of  Brabant  at  one  time  form- 
ed part  of  the  province  of  Flanders.  The  shield  stands 
for  the  municipal  shield  of  Brussels  and  it  often  varies 
in  form.  The  letters  and  shield  constitute  the  mark  of 
tapestries  which  originated  in  Brussels-Brabant,  and 
which  are  entitled  to  rank  as  antique  Flemish  tapestries. 

In  1528  Charles  the  Great  issued  an  edict  which 
condemned  any  weaver  to  lose  his  right  hand  who  wove 
this  mark  in  any  tapestry  which  did  not  originate  in 
Brussels-Brabant. 


/ 


18 


INSCRIPTION,  SIGNATURE,  MARK, 
AND  DESCRIPTION  OF 
EACH  TAPESTRY 

BEGINNING  WITH  THE  FIRST  AND  ENDING  WITH  THE  EIGHTH 


Latin  Inscription. 

NABVCHODONOSOR  REX  HOLOFERNEM 
PRINCIPEM  MILITIAE  SVAE  ADVERSVS 
ISRAELEM  MITTIT. 

Signature— E.  LEYNIERS.  Mark— Bf  B. 

Description. 

The  first  tapestry  represents  Nebuchadnezzar,  seated 
upon  his  throne  at  the  entrance  of  a palace,  extending 
his  sceptre  over  the  head  of  Holofernes,  who  kneels 
as  he  receives  the  edict  which  bears  the  monarch’s  por- 
trait on  its  seal,  and  which  commands  him,  upon  forfeit 
of  his  life,  to  kill  all  those  who  disobey  the  king’s  or- 
ders, and  to  destroy  their  towns  and  cities  and  lay 
waste  their  lands.  Two  officers,  no  doubt  of  high  de- 
gree, stand  at  the  left  of  the  throne,  while  others  of 
lesser  importance  and  a few  soldiers  are  grouped  near 
its  right. 

Nebuchadnezzar  wears  a turban,  a crown,  a collar 
of  precious  stones,  a delicately  toned  tunic  with  gol- 
den lights,  and  a richly  embroidered  mantle  lined  with 
ermine  and  which  has  a wide  collar  of  the  same  fur. 


19 


Holofernes  wears  a helmet  adorned  with  ostrich  plumes, 
a coat  of  armor  decorated  with  human  masks  and  a 
mantle  of  almost  the  same  color  as  the  tunic  of  the 
King.  The  officer  in  the  right  foreground  who  strokes 
his  beard,  wears  a long,  deep  blue  coat  of  velvety  cloth 
with  silver  lights  and  an  ermine  collar.  All  the  princi- 
pal personages  are  large  in  stature  and  have  strong, 
determined  and  self-sufficient  features  which  indicate 
them  capable  of  carrying  out  the  work  they  have  under- 
taken both  ruthlessly  and  persistently. 

Latin  Inscription. 

ACHIOR  DVX  AMONITARV  ENARRANS  DEI 
ISAELIS  POTENTIAM  IVSSV  HOLOFERNIS 
CAPITVR. 

Signature — H.  RYDAMS.  Mark — B. 

Description. 

The  second  tapestry  represents  Achior,  Captain  of 
the  Ammonites,  standing  behind  a table  at  the  entrance 
of  a tent  answering  the  demands  of  Holofernes  for 
information  concerning  the  Jews.  He  points  out  upon 
a map  the  wanderings  of  this  people,  recites  their  his- 
tory and  declares  with  an  arm  uplifted  to  give  greater 
emphasis  to  his  words,  that  they  cannot  be  conquered 
so  long  as  they  obey  the  commandments  of  their  Lord. 
Holofernes,  wild  with  rage  at  this  daring  and  unex- 
pected declaration,  turns  his  back  to  the  table,  points  at 
Achior  and  orders  that  he  be  seized,  bound  and  thrown 
into  Bethulia  to  perish  with  its  inhabitants.  The  or- 
der is  instantly  obeyed,  for  two  officers  promptly  seize 
the  Ammonite  Captain.  The  secondary  scene  illus- 
trates the  balance  of  the  sentence.  Achior  has  been 


20 


bound  to  a tree  from  which  he  is  being  cut  loose  by  a 
soldier  preparatory,  no  doubt,  to  being  driven  into 
the  beleagured  city. 

The  Ammonite  Captain  is  represented  in  this  tapes- 
try, as  well  as  in  all  the  rest  in  which  he  appears,  as 
a sedate  looking  man  of  serious  disposition. 

He  wears  a helmet  decorated  with  three  ostrich 
feathers,  a tunic  of  practically  the  same  tones  as  the 
mantle  of  Holofernes  in  the  preceding  tapestry,  and  a 
deep  blue  mantle  with  silver  lights.  Holofernes  wears 
a helmet  adorned  with  ostritch  plumes,  a coat  of  armor 
ornamented  with  human  masks  and  a rich  luminous 
brown  mantle  gracefully  draped  around  his  body  and 
across  his  shoulders.  It  is  an  exciting  and  fateful 
council  of  war  and  has  been  interpreted  into  warp  and 
woof  with  marvelous  skill.  The  dark  brown  back- 
ground of  the  tent  throws  out  in  fine  relief  the  fore- 
most military  figures  and  the  helmets,  spears  and  ban- 
ners of  those  in  the  rear.  Everyone  will  note  the  mag- 
nificent costumes  of  Achior  and  Holofernes,  but  none 
should  fail  to  observe  the  admirable  reproduction  of 
the  map,  the  books  and  the  table  cover  of  an  unusual 
oriental  pattern. 

Latin  Inscription. 

IVDITH  VIDVA  PONDERAT  POPVLI  VIR- 
TVTES  ET  VITIA  HIS  SVPERANTIBVS 
ISRAEL  PVNITVR. 

Signature — H.  RYDAMS.  Mark — B^B. 

Description. 

The  third  tapestry  represents  Judith  metaphorically 
weighing  the  virtues  and  vices  of  the  Jews,  at  the 


21 


entrance  of  a synagogue  and  before  the  Governors  of 
Bethulia.  The  scales  are  apparently  held  up  by  a hand 
descending  from  a cloud.  The  arrogant  attitude  of 
Ozias,  the  chief  Governor,  has  given  way,  as  she  con- 
tinues her  arraignment,  to  surprise  and  discomfiture. 
His  pose,  his  strong  and  determined  features,  his  heavy 
beard  and  his  large  and  bulky  frame  enveloped  in  what 
may  be  called  a salmon-pink  robe,  give  him  an  impos- 
ing and  self-sufficient  appearance.  Charmis,  who 
stands  on  his  left,  is  the  only  one  of  the  three  Gov- 
ernors who,  judging  by  his  downcast  eyes  and  reverent 
attitude,  actually  feels  and  respects  the  truth  of  Judith’s 
words.  He  wears  a coat  of  blue  velvety  cloth  with 
silver  lights  which  has  been  interpreted  with  such  ex- 
cellence that  it  appears  real  and  the  illusion  is  accen- 
tuated by  the  natural  manner  with  which  it  drapes  his 
figure.  Chabris,  who  stands  on  the  right  of  Ozias,  has 
a face  which  indicates  a subordinate  and  crafty  charac- 
ter. Behind  the  Governors  of  Bethulia  crowd  a num- 
ber of  soldiers,  carrying  spears  and  a green  flag,  who 
strain  forward  to  see  all  that  is  going  on.  In  front  of 
the  scales  stand  Judith  and  Marah,  her  maid.  Judith 
is  dressed  in  the  somber  garments  of  her  widowhood 
and  her  solemn  words  are  emphasized  by  the  attitude 
of  Marah,  who  stands  behind  her  with  hands  clasped 
in  supplication.  In  the  heavier  scales,  peacock  feath- 
ers represent  vanity;  the  ram’s  head,  obstinacy;  the 
mask,  deceitfulness ; the  serpent,  biting  a heart,  envy ; 
the  bag  of  money,  avarice,  and  the  toad,  corruption. 

In  the  lighter  scale  the  anchor  represents  faith ; the 
sword  and  balance,  justice;  the  lamb’s  head,  innocence; 
the  roses,  purity ; the  flaming  heart,  sincerity ; the 
clasped  hands,  brotherly  unity,  and  the  altar-fire,  re- 
liance upon  God. 


22 


In  the  left  middle  field  is  a crowd  of  men  and  wo- 
men in  various  attitudes  of  despair.  Further  back  is 
a section  of  the  walls  of  the  city  with  a tower  full  of 
soldiers,  and  beyond,  upon  a high  knoll,  are  a horse- 
man and  a foot-soldier  on  scout  duty  for  the  As- 
syrians. 

Latin  Inscription. 

IVDITH  PVLCHERRIMA  INDVIT  SE  VES- 
TIBVS  IVCVNDITATIS  SVAE  VT  BETHV- 
LIAM  AB  EXCIDIO  LIBERET. 

Signature — E.  LEYNIERS.  Mark — B^B. 

Description. 

The  fourth  tapestry  represents  Judith,  assisted  by  her 
maids,  completing  a bewitching  toilet,  in  which  she  aims 
to  dazzle  and  enthrall  Holofernes.  She  stands  in  front 
of  a table  near  the  middle  of  her  boudoir  and  looks  into 
a small  mirror.  A kneeling  maid  fastens  a bracelet 
upon  her  wrist,  another  spreads  a rich  mantle  over  her 
shoulders,  a third  takes  a brown  dress  out  of  a chest, 
and  Marah,  who  accompanied  her  to  the  camp  of  the 
Assyrian  general,  carries  a salver  and  ewer.  On  the 
floor  is  a brazier  containing  curling  tongs.  The  table 
cloth  looks  like  a veritable  piece  of  embroidery  of 
unique  and  oriental  pattern.  It  was  an  admirable 
scheme  to  stretch  drapery  across  the  corner  of  the 
boudoir,  since  it  throws  out  in  exquisite  relief  the  vase 
of  flowers,  the  black  jewel  case  and  its  open  drawer 
(from  which  hangs  a necklace  of  pearls)  the  mirror  and 
the  whole  toilet  scene.  The  artist  weavers  have  created 
a lovely  feminine  Judith  whom  we  would  hardly  imag- 
ine possessed  the  physical  courage  to  risk  more  than 
her  life  to  save  her  country  from  destruction. 


23 


Latin  Inscription. 

IVDITH  FVGITIVA  HOLOFERNEM  ASTVTE 
DECIPIT,  ET  SPECIOSAM  VICTORIAM  PRO- 
MITTIT. 

Signature — H.  RYDAMS.  Mark — 

Description. 

The  fifth  tapestry  represents  Holofernes  seated  upon 
a dais  at  the  entrance  to  his  tent,  propped  round  in 
Oriental  fashion  with  cushions.  Judith  kneels  at  his 
feet  with  downcast  eyes  and  both  hands  clasped  upon 
her  breast,  while  Marah  kneels  behind  her  and  holds 
up  the  train  of  her  mantle.  The  Assyrian  leans  for- 
ward and  proffers  a hand  as  if  to  assist  her  to  her  feet. 
On  the  left  of  the  dais  are,  among  other  things,  his 
plumed  helmet,  sword  and  belt  and  coat  of  armor.  The 
two  soldiers  who  have  conducted  Judith  to  the  tent 
help  her  to  rise  at  the  command  of  their  chief.  Their 
swarthy  features,  stalwart  frames  and  picturesque  mil- 
itary costumes  have  been  admirably  interpreted.  There 
can  be  no  doubt  but  what  they  are  loyal  and  valiant 
soldiers,  disciplined  to  prompt  obedience.  Although 
the  cunning  look  in  the  eyes  of  Judith  and  the  sup- 
pliant features  of  Marah  were  not  intended  to  add, 
which  they  could  not,  to  the  decorative  features  of  the 
tapestry,  yet  they  carry  the  conviction  that  the  artist- 
weavers  intended  they  should  interpret  in  a measure 
the  purpose  of  the  visit.  The  magnificent  mantle  worn 
by  Judith,  which  is  evidently  the  same  one  a maid  is 
throwing  over  her  shoulders  in  the  preceding  tapestry, 
looks  like  oriental  embroidery,  heavily  enriched  with 
gold  and  ornamented  around  the  edges  with  rows  of 
pearls. 


24 


Latin  Inscription. 

HOLOFERNES  EBRIVS  A IVDITH  CAPITE 
TRVNCATVR  QVAE  ITA  ISRAELEM  SER- 
VAT. 

Translation. 

Holofernes,  while  drunken,  is  deprived  of  his  head  by 
Judith,  who  thus  saves  Israel. 

Signature — E.  LEYNIERS.  Mark  B^B. 

Description. 

The  sixth  tapestry  represents  the  banquet  offered 
Judith  by  Holofernes  in  his  tent  while  besieging 
Bethulia.  The  Assyrian  general  holds  a large  crystal 
and  bronze  goblet  of  wine  in  his  right  hand  and  clasps 
the  forearm  of  the  Jewess  with  his  left  while  she, 
with  a far-away  look  in  her  eyes,  takes  no  no- 
tice of  the  act  nor  of  the  look  with  which  he  in- 
sults her.  Old  Bagoas,  his  lictor’s  axe  behind  him, 
puts  upon  the  table  the  viands,  cake  and  fruits  handed 
him  by  a waiter,  while  a page  in  the  foreground  fills 
a pitcher  with  wine.  Marah  has  given  Judith  a crys- 
tal cup  of  the  wine  they  brought  with  them,  as  she 
refused  to  eat  or  drink  anything  furnished  by  Holo- 
fernes. The  table  is  decorated  with  a stuffed  peacock 
placed  between  two  tall  wax  candles,  the  light  from 
which  brilliantly  illuminates  the  rear  wall  of  the  tent. 
Behind  the  table  is  seen  the  casqued  head  of  a soldier. 
The  enamored  Holofernes,  the  indifferent  Bagoas,  the 
stolid  soldier,  the  heavy-witted  waiter  and  the  busy 
boy,  all  speak  to  us  in  one  direction,  while  the  alarm 
of  Marah  and  the  serenity  of  Judith  in  the  face  of  her 
danger  trouble  us  as  would  the  sight  of  a lamb  in  the 


25 


jaws  of  a tiger.  It  is  a pathetic  subject  superbly  illus- 
trated. One  remarks  with  pleasure  that  the  creators 
of  the  tapestry  represent  the  actual  tragedy,  designated 
in  the  inscription,  in  miniature  only  and  in  an  incon- 
spicuous place. 

Latin  Inscription. 

IVDITH  VICTRIX  HOLOFERNIS  CAPVT  POP- 
VLO  EXHIBET  QVI  DEVM  ISRAELIS  LAV- 

DAT. 

Signature — H.  RYDAMS.  Mark — B^B. 

Description. 

The  seventh  tapestry  represents  Judith  exhibiting 
the  head  of  Holofernes,  at  the  entrance  of  a synagogue 
to  the  Governors  and  people  of  Bethulia.  She  holds 
it  aloft  in  her  right  hand  and  points  at  it  with  the 
forefinger  of  her  left,  as  she  utters  the  words,  “Behold 
the  head  of  Holofernes,  the  Chief  Captain  of  the  army 
of  Assur;  the  Lord  has  smitten  him  by  the  hand  of  a 
woman.”  Ozias  stands  a step  below  the  heroine  facing 
the  spectator  and  with  his  right  arm  upraised,  cries 
aloud,  “O  daughter,  blessed  art  thou  of  the  most  high 
God  above  all  women  upon  earth.”  Charmis  stands  be- 
hind Ozias  and  with  hands  raised  in  astonishment 
gazes  at  the  head  of  the  dreaded  Assyrian.  Achior  has 
doffed  his  plumed  helmet,  and  kneeling  at  the  feet  of 
Judith,  looks  up  at  her  with  reverence.  Marah  stands 
behind  her  holding  the  bag  in  which  the  head  was 
carried,  while  another  maid  holds  aloft  a closed  sun 
umbrella,  and  a third  holds  a bit  of  drapery  beneath  the 
severed  head. 


26 


The  people  of  Bethulia  are  wild  with  joy  over  their 
deliverance.  One  of  the  two  men  upon  the  step  be- 
hind Ozias  blows  a horn  and  the  other  holds  up  a 
branch  and  crown  of  laurel.  On  the  ground  near  the 
base  of  the  steps  several  men  and  women  express  their 
joy  by  dancing  while  a band  of  others  play  upon  dif- 
ferent kinds  of  musical  instruments,  among  which  are 
a tambourine,  a trumpet  and  several  styles  of  horns. 
Others  carry  warlike  banners  and  flaming  torches.  In 
the  background  is  a section  of  the  walls  of  Bethulia 
with  a tower  upon  a wooded  hill. 

Judith  wears  a greyish  robe,  a collar,  bracelets  and 
waistband  of  precious  stones,  and  a magnificent  mantle 
which  looks  like  gold  brocade  of  a unique  oriental  de- 
sign, bordered  round  the  bottom  with  triple  rows  of 
pearls,  and  lined  with  delicately  toned  silk.  Ozias 
wears  a rich  salmon-pink  robe  lined  with  fur,  and 
Achior  a tunic  of  practically  the  same  tone  as  the  one 
he  wears  in  the  second  tapestry,  and  a luminous  blue 
mantle  with  silver  lights. 

Latin  Inscription. 

DEVS  ISRAELIS  EXERCITVM  HOLOFERNIS 
FVNDIT,  ET  MVNERA  IVDITH  DANTVR. 

Signature— E.  LEYNIERS.  Mark— Bf  B. 

Description. 

The  eighth  tapestry  represents  Judith  attended  by 
four  maids  standing  upon  a platform  outside  the  walls 
of  Bethulia  with  Ozias,  Charmis,  Chabris,  and  their 
bodyguard  on  her  right,  and  Achior  with  his  body- 
guard on  her  left.  Marah  stands  behind  her  and  looks 


27 


over  her  shoulder.  The  maid  nearest  the  spectator 
stoops  at  the  side  of  her  mistress,  holds  a small  trunk, 
which  is  evidently  of  considerably  weight,  and  with 
half-turned  face  looks  upward.  The  next  nearest  stands 
behind  Judith  and  leans  toward  Achior  with  both 
arms  extended  in  a gesture  of  astonishment.  At  the 
feet  of  Judith  are  piled  some  of  the  treasures  of  Holo- 
fernes  consisting  of  plate,  precious  stones  and  vessels 
of  gold  and  silver  of  various  kinds  and  sizes.  In  the 
defile  of  the  mountains  on  the  right,  the  Jewish  army 
pursue  the  panic  stricken  Assyrians.  Nearer  the  front 
a caravan  brings  more  treasures  from  the  camp,  while 
the  men  leading  it  stagger  under  the  weight  of  their 
loads  of  loot,  as  they  climb  the  hill  upon  which  stand 
Judith  and  what  may  be  termed  her  court.  The  dark 
walls  and  towers  of  Bethulia  form  an  admirable  back- 
ground to  the  main  scene.  The  figure  of  Judith  natur- 
ally holds  the  eye  longer  than  that  of  any  of  the  others. 
Her  look,  her  mien,  and  her  gestures  attest  that  her 
heart  is  so  full  of  thankfulness  to  the  Almighty  for 
the  wit  and  courage  vouchsafed  her  to  save  her  coun- 
try from  destruction  that  she  can  pay  scant  heed  to  the 
treasures  piled  at  her  feet.  Her  hair  is  unbound  and 
falls  in  ringlets  over  her  shoulders.  She  wears  a grey- 
ish robe,  a girdle  of  precious  stones  and  the  same 
sumptuous  mantle  as  in  the  preceding  tapestry. 

Ozias  turns  toward  Charmis  and  judging  by  his 
gesture  expresses  his  astonishment  that  the  Assyrian 
chief  possessed  such  rich  and  varied  treasures.  Char- 
mis  stands  with  both  hands  resting  upon  the  head  of 
his  heavy  stafif,  a model  of  dignity  and  sobriety.  His 
turban  is  ornamented  with  precious  stones  and  his 
green  mantle  of  velvety  cloth  contrasts  beautifully 


28 


with  the  delicately  toned  mantle  of  Ozias.  In  fact,  this 
contrast  of  colors  throws  out  the  whole  figure  of  Char- 
mis  in  grand  relief.  The  attitude  and  gestures  of 
Achior  proclaim  his  adoration  of  Judith  and  his  won- 
derment over  her  miraculous  exploits.  The  contrast 
of  colors  in  this  instance  also  makes  his  figure  stand 
out  in  high  relief.  He  wears  a helmet  ornamented 
with  ostrich  feathers  and  a blue  mantle  of  velvety 
material,  with  silver  lights. 


i 

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